The following is a review of revered bassist Dave Holland’s debut as a leader at Smoke Jazz Club in New York City. His “New Quartet” featured alto saxophonist Jaleel Shaw, pianist Kris Davis, and drummer Nasheet Waits.
“They’re all musicians that I’ve had a chance to play with in the past,” master bassist Dave Holland says of his New Quartet, his current vehicle. The quartet was formed for North American and European appearances last summer, and brought him to his Smoke debut. “The chemistry on that tour, I hadn’t anticipated; it really inspired me to keep the project going.”
What attracted him to saxophonist Shaw, pianist Davis, and drummer Waits?
“We love the conversation of the music, and the interactive aspect of it,” he says. “That’s the heart of everything we do, and it requires somebody who’s really good at listening as well as playing, who can be supportive and lead both those things as well. So, [our interaction] gives a lot of room for the music to expand and develop.”
Holland has made a heavy impact on his instrument. The Englishman (who has resided in the United States for decades) emerged by way of late-‘60s Electric Miles, and made a huge stride in 1973 by way of Conference of the Birds, his famous quartet album featuring Anthony Braxton on alto sax, Sam Rivers on tenor, and Barry Altschul on percussion. He’s consistently kicked ass ever since. To put it lightly, his voluminous CV deserves a book – somebody write one!
Given Holland and Smoke’s sizable legacies – the New York club formally occupied the space previously known as Augie’s in 1999 – it’s surprising that Holland hasn’t led there until now. But, he has great memories of performing there previously as a sideman.
“We were actually planning on recording this week, but unfortunately, the owners recently signed an exclusive distribution deal for anything that’s recorded at Smoke,” Holland reveals. “So we had to abandon that idea, but the gig’s going on.”
The Smoke residency spanned 4-8 September. I was there for night one, set one, where Holland emanated measured, giddy joy from the jump. The band dove in with Holland’s “A New Day,” which dates back at least to his 2013 album of the same name. Davis led off the proceedings on Rhodes with a fluid, sort of 1970s snakiness; Waits’ tight, light snare rolls detonated the fuse. Holland was sinewy, bluesy.
Shaw’s “Flipside” followed, a tune that hails at least from his 2008 album, Optimism. Davis shifted to piano, leading off with a spectral vibe. Shaw darted, zigzagged. This lean, mean quartet setting perfectly suited the music, and built an on-ramp for Waits’ thunderous crescendo.
Third was Holland’s “Passing Time,” which dates at least from the cut on 2021’s Another Land. His lyrical, opening solo led into a tough, blues-drenched groove and dialogue with Waits. Shaw joined, in his crystalline upper register, followed by Davis on Rhodes. A late-night, shimmering-city-lights vibe. Penultimate was Waits’ “Between Nothingness and Infinity,” which dates at least back to his 2016 album of the same name. Davis’ dark, stormy pianism led to Shaw’s aching, lyrical playing, rife with dramatic tension.
The programme concluded with Holland’s “Jumpin’ In,” which dates at least as far back as his 1984 quintet album of the same name. Holland’s chordal sweeps met Waits’ question-mark curls. It built in horsepower, with artful abandon from Waits and Shaw, followed by Davis and Waits in thrilling dialogue. By all means: wherever you are, catch this band.
